Compose two styles
Rather than blending two styles into a middle, this assigns them roles: one carries the structure, the other appears as an accent. Where the two fight, it says so before you start.
How to divide the work
- Composition
- Follow Ebru: Scatter a few flowers only and fill the rest with combed waves
- Type
- Set in Ebru's manner (Write the letters afterwards, into space the pattern left open), and let Suminagashi's lettering (Place type clear of the flow and do not let it compete with the ground.) appear only where you want the eye to catch.
- Material
- Ground in Ebru's material (Pigment dropped on thickened water, drawn with comb and stylus, lifted once); bring in exactly one thing from Suminagashi (Drop ink and surfactant alternately onto the water and disturb them with your breath.).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #e9e6dd, #67635d, #171615.
Where they fight
- Both belong to Decorated Paper, so the difference is small. Push the roles further apart than feels comfortable.
- Two techniques rather than two looks. Decide which one runs last in the process, because that is the one that will show.
Caution
- Ebru Scanning the pattern and tiling it removes the chance of the single sheet, which is what makes it work, and leaves printed wallpaper.
- Suminagashi Trying to control it completely produces a dead pattern. Decide in advance how much room chance is given.
Image prompt
An original image that takes its structure from Ebru (Technique, 15th century–) and its accent from Suminagashi (Technique, 12th century–). Structural cues: Flower forms on water (ebru çiçekleri); Combed wave patterns; The chance of each single sheet; Pairing with calligraphy. Accent cues, used sparingly: Streamlines of disturbed concentric rings; Layers made by the density of the ink; A pattern different on every sheet; Edges that keep the tension of the water surface. Composition: Scatter a few flowers only and fill the rest with combed waves. Type and lettering: Write the letters afterwards, into space the pattern left open. Let one material quality come from the second style: Drop ink and surfactant alternately onto the water and disturb them with your breath.. Mood: Calm, Luxury, Play, Intimacy, Technology. Color: build on #e9e6dd, #67635d, #171615 with a single accent drawn from #e9e6dd, #67635d, #171615. Constraints: do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. Produce an original composition in the general period languages described above.
Related entries
- Ebru 15th century– / Technique / Decorated Paper
Turkish marbling: pigments floated on thickened water, drawn into flowers and swirls with comb and stylus, lifted onto paper. Grown from calligraphy's ground into an art of its own, inscribed by UNESCO.
- Suminagashi 12th century– / Technique / Decorated Paper
A technique in which concentric rings of ink dropped on the surface of water are disturbed by breath or brush and then lifted onto paper. The flow that appears on each sheet cannot be repeated, and from Heian period decorated papers to contemporary bookbinding it has continued as a method for inviting chance on purpose.
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